FR: a manifesto

the modern soundscape: at one end, that which is beneath notice; at the other, that which cannot be ignored

(D. Suisman and S. Strasser. Sound in the age of mechanical reproduction, Philadelphia 2011, p. 2.)





When you work with your ears, your ears never stop working.


  • What does it take for sound to be political?
  • cries
  • riots
  • WHAT qualifies a recording as a field recording?


political engagement does not consist in the topics but in the forms of perception

H. T. Lehmann, Postdramatic Theatre,

[in:] Sound Design Is the New Score: Theory, Aesthetics, and Erotics of the Integrated Soundtrack,

D. Kulezic-Wilson, New York 2019, p. 92.


  • According to Szendy, and “following Nietzsche, we could say that the extent of the development of their listening is measured by the degree of fear” (P. Szendy. All ears: The aesthetics of espionage, New York 2016, p. 31.)
  • “sound is an alternative perspective, it is a slice of the actual world, sound is a portal to imagination and an access point not only to itself, opening experience towards a sonic materiality, but also to the experience of a radical realism, to the idea of the world not as an absolute real but as an indexical real – the way the world is or the way we perceive it to be is one way which doesn’t impede it from being different, something else” (2016 – paper presentation at Fase)


Is sound not sensual enough?

  • sound education
  • FL
  • “to make silent and let sound” (M. B. Quintero, Loudness, Excess, Power: A Political Liminology of a Global City of the South, [in:] Remapping sound studies, eds. G. Steingo and J Sykes, Durham 2019, p.144.)


 In order for sound to protect us, we need to listen.